Opening shot: a glistening slug uses its body to feel the way toward primal physical needs. Up from the ground, Roman’s protagonists act out a set of similar tropes of desire, both their eyes and hands to apprehend physical and emotional textures.

...The third collective film is an experiment in portraiture, which submitted the then social democrat prime minister Jens Otto Krag to a series of formal constraints of which he was not informed. One rule was that none of the film crew would talk to Krag,so he was left to wander around the garden where the filming took place, without any instructions, and accompanied by a girl who tried to chat him up.

- Tania Ørum, aus Avant-Garde Film. (Avant-Garde Critical Studies 23)

Three tailpipes arranged vertically among glittering purple paper, golden eggs on a piece of checked fabric. Ready mades. A mobile made from a toy construction set from the fifties – actually a Ferris wheel. Modified object. Lucky strike cigarettes on a collage featuring a lady in green. Artefacts made for the sake of the photograph. A digitally created image featuring a splash of cream – too attractive to be true. Always for the sake of the photograph.

They are staring at us, knowing we are staring back. In Roman's video it is the presence of the camera that makes the actors move...blink...and react. Having more or less no real instructions by him as to what the actors are supposed to do, Roman’s video exaggerates the subtleties of slight gestures that begin as reactions to circumstance but through the lens of the camera and the speed of editing turn into the focal point of the scene. The video uses a cast of characters from Roman’s private life, often holding props that at times plays off of his own previous work as well as his collected images in pop culture and art history. Mixing the absurd with the

delicate, the characters are reduced to one movement, the scene being cut immediately after it is performed, creating a chain of actions that ricochet from one moment to the next.